Contributed by: InaGreendaseBrian(others by this writer | submit your own)Published on January 28th 2011Little League's name is a suit waiting to happen (it almost happened to Philadelphia act Kill Verona, who used to go by the same name), but considering the longevity most bands of their style have, maybe it won't be a problem. That's both a blessing and a curse for the Tallahassee act, because they'.

Little League's name is a suit waiting to happen (it almost happened to Philadelphia act Kill Verona, who used to go by the same name), but considering the longevity most bands of their style have, maybe it won't be a problem. That's both a blessing and a curse for the Tallahassee act, because they're doing a cool–albeit increasingly popular–style of emo on their Frames EP many of us flock to.

It's the kind that bustles and occasionally noodles, nestling them comfortably within the newer class of bands like snowing and Hightide Hotel. I sense much heavier Promise Ring–and, to an extent, Braid–influences running their way through their stuff, though, with double-tracked vocals that attempt smoother, more straightforward singing through a slightly nasal lower register. TPR's touch is especially evident in melodically ambitious cuts like "Tally Song" (total Nothing Feels Good worship for blinks of an ear) and the rhythmic juts of standout "Hot Knife". It's a little off-key in "Crumbs", and it's just A-OK. Closer "Return of the Gooseknuckle" seems like the "anthem."

There's some surefire familarity at play here, and while the sound may still be better than the actual songs, Little League's doing a gimmick-free, enjoyable take on a weathered, honest style. If their progression is parallel with the development their peers have managed in such short times, someone's getting a promotion.